The Dancing Nymph

$1500
Item Code: RR53
Specifications:
South Indian Temple Wood Carving
Height: 41.5 inch
Width: 18.5 inch
Depth: 6 inch
Weight: 14.47 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide
This brilliant piece of wood-carving represents a Yakshi – a nymph, or one of a celestial origin possessed of divine beauty : the theme of several ancient scriptures, embodying dance and tales of heroic love into her being. The statue presents a pleasant blend of two arts : dance and sculpture, one being its theme, and other, its diction – the mode by which it is expressed. The figure’s mystic beauty and unearthly charm which a kind of divine serenity and celestial poise, enshrining upon her face, further sublimate reveals an idiom of life now almost extinguished. The figure of the Yakshi is not merely an absolute expression of dance but is also a perfect model of paramount beauty. The statue is unique in its modeling, plasticity, anatomical proportions and in its ability to breathe rhythm and the desired ‘bhava’ – sentiment or emotion.

The figure of Yakshi, dancing fully absorbed and transported into a being beyond her, has been installed on a moderately tall lotus-pedestal inside a beautifully conceived ‘prabhavali’ consisting of conventionalised lotus motifs with a flower-like looking beaded medallion atop. From the centre of this beaded medallion release on either side bunches of decorative laces looking like whiskers of the mythical lion usually comprising a Kirtti-mukha motif’s part. This ornamental member atop the ‘prabhavali’ hence looks like a Kirtti-mukha motif, whether endowed with its auspiciousness or not is not known. Except its upper part curving like an arch, the ‘prabhavali’ is a simple structure composed of two parallel columns rising from the lotus-base which the dancer’s figure enshrines. The outer half of the ‘prabhavali’ consists of the lotus design, while the inside, of the courses of beads and other ornamental design-motifs.

The figure’s hands, the rhythmically folded left, turned back to shoulder, and the right, straightened but for a mild curve, and fingers, illustrating a narrative : a tale or a dialogue, outwardly twisted knees and correspondingly positioned feet, the widened toes and the close heels, sash, waist-band and other components of ensemble floating into the air, or rather the entire geometry of her figure, all reveal her dancer’s identity, and her transcendental beauty and rare grace, her celestial links. The dance form she is absorbed into is a form of Kathaka – one of India's main classical dances, which developed in the course of time by synthesizing dance idioms of the north, Oudh and Brij in particular, and is hence universally revered as the dance of North.

As the term literally means, Kathaka is a dance of ‘katha’ – tale, teller : initially a male dancer’s performance. Except a forward thrust revealing in the legs’ demeanour, as the story-telling sometimes required, Kathaka is a dance of upright stance with the body held absolutely erect, even the knees not revealing deflection. However, as document some early sculptures from Rajasthan, it later developed, regionally or in entirety, also a half-seated posture with outward turned knees, as in this wooden sculpture, though body-forms that revealed story-telling were yet the key-concern of Kathaka. Maybe, instead of an erect figure a body-posture with deflecting knees created greater visual drama, and was hence sculptor’s priority. In any case, with decisive emphasis on the story-telling body-posture, the dance form represented in the statue is essentially Kathaka. The position of legs with deflecting knees is a characteristic posture of Bharatanatyam, the classical dance of the South. Maybe, the sculptor has blended into the form of his dancer this element from the Bharatanatyam tradition.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.


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Sculpting Serenity: Unveiling the Art of Crafting Wood Statues

Wood has been a preferred material for sculptures and statues since ancient times. It is easy to work with than most metals and stones and therefore requires less effort to shape it into any desired shape or form. The texture of the wood gives an element of realism to the sculpture. The selection of an appropriate wood type is necessary for carving. Woods that are too resinous or coniferous are not considered good for carving as their fiber is very soft and thus lacks strength. On the other hand, wood such as Mahogany, Oakwood, Walnut wood, Weet cherry wood, etc., are preferred by sculptors because their fiber is harder. A wood sculptor uses various tools such as a pointed chisel in one hand and a mallet in another to bring the wood to the desired measurement and to make intricate details on it. A carving knife is used to cut and smooth the wood. Other tools such as the gouge, V-tool, and coping saw also serve as important tools in wood carving. Although the wood carving technique is not as complex and tough as stone carving or metal sculpting, nonetheless, a wood carver requires a high level of skills and expertise to create a stunning sculpture.

1. Selecting the right wood

The process of wood carving begins with selecting a chunk of wood that is required according to the type and shape of the statue to be created by the sculptor. Both hardwoods and softwoods are used for making artistic pieces, however, hardwoods are preferred more than softer woods because of their durability and longevity. But if heavy detailing is to be done on the statue, wood with fine grain would be needed as it would be difficult to work with hardwood.
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2. Shaping the wood

Once the wood type is selected, the wood carver begins the general shaping process using gouges of various sizes. A gouge is a tool having a curved cutting edge which is useful in removing large unwanted portions of wood easily without splitting the wood. The sculptor always carves the wood across the grain of the wood and not against it.
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3. Adding detailing

When a refined shape of the statue is obtained, it is time for making details on the statue using different tools. This is achieved by using tools such as a veiner to make and a V-tool to create decorative and sharp cuts.
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4. Surface finishing

Once finer details have been added, the sculptor is ready to smoothen the surface and give it a perfect finish. Tools such as rasps and rifflers are used to get a smooth surface. The finer polishing is obtained by rubbing the surface with sandpaper. If a textured surface is required, this step is skipped. Finally, to protect the statue from excessive dirt accumulation, the sculptor applies natural oils such as walnut or linseed oil all over it. This also brings a natural sheen to the statue.
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How to care for Wood Statues?


Wood is extensively used in sculpting especially in countries like China, Germany, and Japan. One feature that makes the wood extremely suitable for making statues and sculptures is that it is light and can take very fine detail. It is easier for artists to work with wood than with other materials such as metal or stone. Both hardwoods, as well as softwood, are used for making sculptures. Wood is mainly used for indoor sculptures because it is not as durable as stone. Changes in weather cause wooden sculptures to split or be attacked by insects or fungus. The principal woods for making sculptures and statues are cedar, pine, walnut, oak, and mahogany. The most common technique that sculptors use to make sculptures out of wood is carving with a chisel and a mallet. Since wooden statues are prone to damage, fire, and rot, they require proper care and maintenance.

 

  • Wood tends to expand and contract even after it has been processed, thus it is always recommended to keep the wooden sculptures in rooms with little humidity. Excess moisture can harm your masterpiece.

 

  • Periodical dusting of the finished piece is necessary to maintain its beauty as dust accumulation on the surface takes away the shine of the sculpture. You can use a clean and soft cloth or a hairbrush for this purpose.

 

  • You must avoid applying any chemical-based solutions that may damage the wood from the inside. Instead, you can apply lemon oil or coconut oil using a cotton rag to the sculpture to bring out its natural shine. Lemon oil also helps to clean any stains on the sculpture.

 

  • Applying a layer of beeswax protects the wood from sun damage and hides even the smallest imperfections on the wood.

 

It is extremely important to preserve and protect wooden sculptures with proper care. A little carelessness and negligence can lead to their decay, resulting in losing all their beauty and strength. Therefore, a regular clean-up of the sculptures is a must to prolong their age and to maintain their shine and luster. 

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